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Part II introduces the core of piano technique. It begins with a continuation of the exercises found in Part I and gradually introduces exercises designed to prepare the student for playing scales, including thumb-under exercises. It also covers the twelve major scales with their harmonic and melodic minor scales, major and minor arpeggios, chromatic scales and arpeggios of the diminished seventh and dominant seventh.

Valses Poéticos (Poetic Waltzes) is a collection of seven short Waltzes. One of Granado's most enduring works, this collection of intriguing compositions was intended to be performed as a suite; however, the waltzes can be performed individually or in groups.

The School of Velocity is firmly established as the standard scholarly collection of technical exercises used by piano pedagogues for nearly two centuries. This volume is made up of four books of technical exercises, each book consisting of ten studies. Editor Gary Busch's careful and thorough research is reflected in this edition through his insightful commentary about Carl Czerny's life, his style and technique, and a unique guide to the individual exercises.

Burgmüller's 25 Etudes, Op. 100 has been standard teaching literature since the mid-19th century. This newly edited and engraved edition is both scholarly and visually appealing (many two-page spreads that allow for musical page turns and ease of reading). This is a must for any teacher or student's library.

Largely self-taught, Satie was considered an eccentric genius by his colleagues in Paris in the late 1890s. Beautifully engraved, this is an elegant, new edition of Satie's most serenely beautiful piano pieces. Photographs, short biography, notes about this edition and a translation of French terms are included.

In 1725, J.S. Bach gave his second wife, Anna Magdalena, a Notenbüchlein" - a collection of solo keyboard pieces and arias. Most of the keyboard pieces were composed by friends, colleagues, and his son, Carl Philipp Emanuel Bach. The easier keyboard works were probably used to instruct their children, while the arias would have been performed by Anna Magdalena, who was a singer. For this edition, Edwin McLean has chosen and expertly edited the most popular and easier keyboard pieces. Originally, the pieces contained no dynamics and virtually no phrasing, which is typical of baroque harpsichord music and even early 18th-century fortepiano music. Sectional dynamics have been added editorially and may be changed at the discretion of the performer. A minimal amount of phrasing and articulation has also been added for clarity. This edition preserves the original notation for appoggiaturas, where small eighth or quarter notes resolve to the principal note. Ossias have been included to show how to play them; ossias also appear when needed for ornaments such as trills and mordents."